With Ludwig on the last lap of her career, Lipovsek bids fair to take her place in many spheres, not least that of Lieder. In this recital her ample, velvety mezzo and generous mode of expression very often recall those of her distinguished predecessor and—as with Ludwig—she often prefers to paint with a broad brush rather than concentrating on detail as is, say, Fassbaender's way. This style is well suited to Brahms, particularly the Brahms of the two songs with viola or, as here, cello, of which she gives mellow, warm expression, ably abetted by David Geringas's obbligato. Her ability to lean into those lush melodies this composer so loved to write is again in evidence in the next two songs, famous ones from Op. 105, Wie melodien zieht es mir and Immer leiser wird mein Schlummer, the final cry of the latter, ''Komm, o komme bald'' rightly intense, beseeching. She also makes a success of that marvellolls song Auf dem Kirchhofe, emphasizing the dark hue of the phrase ''die Kranze alt'' (''the wreaths were old'') and finding the consolation of the close. That even greater piece, Der Tod, das ist die kuhle Nacht, is finely sung with inner passion.
From there on I felt some falling off in conviction. Von ewiger Liebe is taken too slowly and thereby loses the momentum of the message. Similarly Die Mainacht lacks flow at such a slow tempo. The next two songs, Wie bist du, meine Konigin and Wenn du nur zuweilen lachelst surely call for a male protagonist. Brahms's Op. 70 shows both the composer and his interpreters on something like automatic-pilot, pleasing but a shade soporofic. The folk-songs revive things, though Lipovsek takes a 'straight' way with Da unten im Tale as compared with Schwarzkopf, its most noted interpreter (EMI, 12/90), thereby missing some of its melancholy, but no holds are barred in the naughty Och, Moder, ich well en Ding han! Throughout Charles Spencer is a deft, supportive partner, not contributing many ideas of his own, but always keen in his responses to the singer. The recording, made in an Austrian Schloss, is a shade too spacious for my liking. but truthful to the voice. The translations are stilted.'